Music-recording instrument



June 11, 1929. H, P, BALL 1,716,811

MUS ICl RECORDING INSTRUMENT Filed FebV 5, 1924 INVENTOR 7 1 uz/dun.

M l ATT RM1-:Y

Patented .lune 11, 1929.

UNITED STATES HENRY PRICE BALL, OF NEW YORK, N. Y.

MUSIC-RECORDING INSTRUMENT.

Application filed February 5, 1924.

T his invention relates to the art of recording` and reproducing music, and more particularly, music produced by mechanical instruments, such as the player piano.

In order to bring our clearly wherein I have contributed to this art, I would point outthat records of piano performances have heretofore been nia-de in various Ways, but these records have notI been complete. For example, such records have generally been made, by adapting the movements of the piano keys to control pneumatic valves or electric contacts, which in turn control the operations 0f a recordingl device. The recording devices heretofore used, comprise either a series of pencils or punches, which mark upon, or perfor-ate, a traveling sheet of paper, as a record of the notes struck by the performer. In this Way the notes are recorded as to their tempo, time of starting, and duration; but in these recording devices no provision is made to record notes as to their individual intensity of tone.

One of the methods employed to record a piane performance is to record on a traveling sheet of paper, by perforations or marks, the notes selected and played by the artist and simultaneously therewith recorded upon the same sheet, by an attendant, the intensity with which the music is being` played by the artist. This record of the intensity of tone, lnnvever, the composite value of all of the tones and obviously no record can be made by such a method of the intensity of K each note played.

firm-eral attempts have been made to record the individual intensity of the tones produced, but these have not succeeded Vfor various reasons: the principal reason for failure has been the fact that no one has attempted to record the amplitude of vibration of the stringl struck` or the amount of energy of motion imparted to the string by the hammer, causing the vibration of the string.

It has been suggested to record the speed v of the hammer as a means of recording the intensity of the tone produced thereby; but this is fallacious, as the amplitude of movement of the string and the intensity of tone produced therel'iyis a function of the square of the velocity of the hammer and its mass, and is not a straight line function of the velocity of the hammer. As the Weights of the different hammers vary considerably in a piano action, from being light at the treble, to heavy atl the bass, and as the weight and Serial N0. 690,756.

length of the strings also vary considerablv, it 1s impossible to record the intensity of tlie different tones by simply recording the speed of the hammer producing them.

At the present time the so-called reproducing rolls on the market are made by recordingr the played notes upon a traveling sheet of paper as to their pitch, tempo and duration, during the time that the artistis playing. The sheet is then edited7 by an arranger, and marginal holes provided in the sheet to control the reproduction of the tones recorded, to agree as nearly as possible with the effects of the original perforn'iance. Manifestly, it is impossible for any arranger to remember the individual intensity of the innumerable number of tones played by the performer. Any such arrangement, therefore, can not and docs not conform to the artists interpretation of the musical composition as played by him.

rl`he objects of my invention are as follows:

l. To produce automatically a record of a performance on a piano, which record can be used directly to control a reproducing piano, to reproduce the performance of an artist, in every detail, as te phrasing, pedaling, tempo, and quality or timbre of tone as well as the dynamic value of each note played.

2. To record and reproduce the individual dynamic value of each note played on the piano; in other words-to record each 'note played, in such a Way that it can be reproduced upon a reproducingA piano exactly as the artist played it, as regards its intensity.

To provide means for recording all the values of a piano performance, Without in any Way interfering with the artist by changing the touch of the key or piano action, thereby placing no limitations upon his perfoi-mance.

4. To provide a recording device that can be installed in the present types of standard pianos Without any change in their construction and especially Without changing the standard actionsI found in such pianos.

5. To provide a recording device that is quick enough to be responsive to every speed -of the action and one that records the dynamic energy of each hammer and the amplitude of vibration of each string struck.

6. To provide a device that Will record upon a sheet of paper moving continuously. so that I am able to produce exact records of the degree of attack of the notes struck,

control the recording device.

sheet, due to the performer carelessly resting his finffers or hands on the keys without intending to strike any tones.

The recording and reproducing piano, and the record of a piano performance disclosed in this application, is an improvement over the disclosure in my Patent 849,453 issued April 9, 190'?, wherein I show a tone recording device and controlling means for the recording device, actuated by the hammers of the piano action, and in which case the hammers of the action open pneumatic valves ust prior to their hitting the strings' of the piano, to rIhe valves in this case control perforating devices to record the notes played, by a perforation. rIhe apparatus disclosed in this patent, is not adapted, however, to record the individual dynamic force with which each note is played. In my Patent 984,256 issued February 14. 1911 I disclose a means of playing a piano by a perforated music roll in which the note perforations are preceded by so-called modify ing perforations. In this ease, however, the modifying perforations always occupy a given and fixed distance in advance of the note perforation, or to one side of the same. In a similar music roll disclosed by me in my Patent 1,043,501 issued November 5, 1912, in connection with an automatic organ, I show small modifying perforations at a given distance in advance of the note perforations. In my Patent 778,436 issued Deceniber 27, 1904 I disclose various relations of the relative position of note perforations and modifying perforations; but in every instance the modifying perforations have a single `fixed, definite distance from their corresponding noteperforation.' In all the patents referred to above, I employ a tracker bar having two series of ducts, one series adapted to co-operate with the note perforations and the 'other series adapted to co-operate with the iiio'difying perforations. I am familiar ,with the Patent No. 861,260 issued July 30,

1907 of Burton, wherein he discloses the use of the small so-called pilot hole in front of the note perforation; but these pilot holes Vare always at a fixed, definite single distance in advance of the note perforation.

In Vall of the patents enumerated above, that is,-those issued to myself and the one issued to Burton, the small hole in the front of the note perforation is used simply as a selective means to throw the particular note selected, upon a selected wind chest, having a variable pressure to produce different intensities of tones. Obviously, all notes that are thrown on the wind chest simultaneously,

will speak at the same intensity. In instruments of this kind, having high and low pressure wind chests, thepressure in the low pressure wind chest is used to determine the intensity of the accompaniment notes, while Vthe pressure of the high pressurel wind chest is used to determine the intensity of the melody notes. All of these arrangements are entirely differentfrom my present invention, wherein I do not vary the pressure in the wind chest, and where I have a varying distance, between the small perforation and the note perforation, to determine the intensity with which the note is to speak, and where both the note perforation and its modifying small perforation, co-act with a single tracker ductin a tracker board having but'a single row of ducts.

Referring` to drawings:

Figure 1 is a diagrammatic view of a grand piano equipped with my recording attachment.

F i gure 2 is a view of my perforating device.

Figure 3 is a detail of the hammer parts and electric contacts.

Figure 4 is a view of the perforated record which has beeninade the subject of a separate application Serial No. 140,620, filed October 9, 1926.

Figure 5 is a detailed view of the attachment shown in Figure 1.

It will be seen from the drawings that my recording attachment may be applied to any standard form-*of piano, and that it does not interfere in any way with the standard form of piano action. I will now describe in detail the parts of my device as follows:

Referring to Figures 1, 3, and 5:

'lhe key 1, pivoted in the piano at bearing 2, actuatesthefjack 5, which in turn actuates the hammer 6,'driving it against-'the string 7, and creates the desired tone. In one form of my invention, I provide an extension 149, Fig. 3, to the rear end of the hammer shank 9 and extend it beyond the rear of the haminer pivot 164 so that in the movement of the hammer, to strike the string, this extension 1.49inipinges against the pivoted aim 10 of a timing device. see Fig. 3, causing the arm 10 to swing out away .from the extension 149, as indicated by the arrow. I prefer. to have the extension 149 actuate the arm 10 at or liust prior to the time the lhammer strikes the string 'i'. The amplitude of the swing of the arm 10 is proportional to the energy of motion of the hammer 6,-iii other words,-a hammer 6 producing a soft tone upon impinging r this swinging arm. and other parts is best shown in Figures 3 and 5, where it will be seen that the arm is provided, where it engages with the extension 1119, with a felt pad 11, secured thereto at one end so as to prevent any noise being created at the time of impact. The arm 10 is provided with a pivot 12 hinging it to the bearing support 1G. This support 16 I can either run directly across inside the piano as one support for all ot the arms 10, (it being understood that there is one arm 10 for each key of the piano) or I may subdivide the bearing support 16 into individual bearings, one for each arm 10. In any event, I provide a spring 120, or its equivalent for maintaining the arm 10 in its normal position as shown in Figures 3 and 5.

The base 16, Figure 5, is provided with two electric terminals, 17 and 18. The terminal 1S is in electrical contact with a 'flexible contact spring 19, which is secured at one end to the base 16. rFhe base 16 is made ot insulating material. rIlhe terminal 17 is secured to a contact. plate 20, againstI which the -tree end ot' the contact spring19 bears, when the arm 10 is in its normal position. The stop 21, secured to the side ot the arm 10, as shown in Figure 5, bears against the spring 19, and holds itin closed circuit posit-ion. I prefer to make this stop, 21, of felt, so as to prevent the rebounding ot the arm 10, especially after its return from a long angular travel, caused by its having responded to the action ot a hammer producing a loud tone. I prefer to have the electric connection between the terminals 17 and 18 normally closed, although this is not absolutely necessary. It is obvious that it my arm 10 is light, and the spring 120 is weak, the angular motion for any given blow against the telted end oi the arm 10 will be very much greater than it the arm 10 is heavy and a strong spring 120 is employed. I have, therefore, two means ot adjustment, which I employ in adjusting my recording arms 10, to correspond with the intensity ot tones produced on the diiterent strings out the piano, which vary considerably in weight, and which are struck by hammers of considerable ditlierence in weight. Itis possible tor me to adjust the swinging arms 10, so that the time oit' their movement, in swinging outwardly, and back again to their initial position, is a direct measure of the intensity of tone of any ot the strings, and by making the device responsive in this manner (so that the time oi" the transit ot' thc arm 1t) corresponds to the intensity o't the note struck), I am able to make a permanent record thereof, and provide thereby a means to reproduce the tones of the same intensities as those with which they were played, as will hereinafter be more fully described. I appreciate the fact that instead of striking the arm 10 by an extension 1419, to the hammer parts, as dcscribed, I may strike the arm 10 directly by the hammer G, or by the hammer shank 9,

as shown in Figure 1. It is lto be understood, that as the arm 10 swings outwardly, the spring contact 19 opens the electrical connection between itself and the plate 20, and interrupts the current flowing there-through. II`his current is thereby interrupted until the arm 10 returns to its initial position, at which time the spring contact 19 and plate Q0 come together and close the circuit.

In Figures 1 and 5, I have shown a modified form of my method ot transmitting motion from the piano hammer to the swinging arm 10. In this case I provide a pin 154, having heads 121 and 112i. The head 121 bears against the pad 11 on the arm 10, while 'the head 121 is adapted to be struck by the hammer shank 9, provided with the ielt pad 195 at the point ot impact. A suitable bearing, 128, holds the lower end ot' the gin 151, in position. The general operation ot' this form of my invention is similar to that shown in Figure 3. It has the disadvantage, however, over the other form in that there is an intervening member a, between the hammer parts and the timing arm 1t), thereby tending to make this form ot device less positive and less sensitive.

In Fig. 5 I have shown a form ot the spring used; here I show a coiled spring 120, one end ot which is secured to the base 1G, while the other end exerts a tensional strain on a thread 139, which passes under the pivot 1E?, and is secured at 140 to the upper side of the arm 1t). It. is understood, ot course, that the arm 10 is bifjurcated, to accommodate the thread. There are SS arms, 10, and correspomiling parts, one set of parts tor each note on the piano. Fach set of parts is adapted to be actuated by each tone producing device in the piano. The arms 1t) and their parts are spaced to agree with the distance trie hammers are mounted apart in the piano. This distance varies and the arms are, therefore, spaced accordingly.

In Figure I have shown a pertorating mechanism, which can be employed in connection with the recording piano described above, The record is made by pertorating a continuously moving strip ot paper 22, and is controlled by the action ot the piano key and the arm 1t) ot' the timing device. The paper QQ passes over the rollersl 21 and 25, and is ted by any well-known means (not shown in the drawings) either intermittently or continuously as desired. In my preferred form, however, I ieed the paper continuously, and in the direction oi the arrow, that isf- 'from the lett to right, as shown in Figure 2. The paper passes, theret'ore, from the punch 23 toward the small punch 2i'. These punches produce large and small pertorations in alignment, in the sheet Q2, Figure such as Vthe large holes 3st, EEG, and. 15S, and the small holes and 33. The large holes are in part tone producing means, while the small holes are in part tone modifying means. The small holes are all of one size and cir-V cular, while the large holes are of various lengths to correspond with the duration of the tones. T he width of all of the large holes is uniform.

It would not deviate from my invention, to locate the small holes out of direct alignment from the note perforation. I find it most con venient, however, to locate them in line as shown, for the reason that I use a tracker bar having but a single row of tracker ducts, each duct of which co-operates with the perforations as explainec. rI his simplifies the mechanism very materially.

In my perforating and recording device, Figure 2, each possible tone will have two punches, one large and one small, so that there will be 83 pairs of punches, there being 33 keys on the piano. rIhe two punches, constituting the pair for each key on the piano, are arranged longitudinally with reference to the music sheet, and are spaced a given distance apart from each other,-in other words, the distance between punch 23 and 24.-. is the same as the greatest distance the perforations are to occur in the music sheet.

Obviously, this is when the two punches, constituting each pair, operate simultaneously, and which pertains at the time the note is played to record the softest tone. The large punch 23 and the small punch 2t are each provided, in my preferred form, with electric means for operating them to produce perfo rations in the music strip 22. All of the punches are returned to their initial, position by springs 25 and 26, or their equivalent. The means shown for operating the punches, consists of magnets 27 and 28, to the outer pole pieces of which are pivoted armatures 29 and 30 respectively. The free ends of these armatures actuate the punches 23 and 24, upon the armatures being attracted downwardly to their pole pieces, by reason of current passing through the windings 31 and 32, the punches are forced through the music sheet 22, and perforations are thereby made therein, as will be readily understood. In my method of recording the dynamic Value of each note, the softest tones on the piano will be recorded by the two armatures 29 and 30, forcing the punches through tl e paper simultaneously, and if this tone is played staccato, the holes in the perforated record will consist of a large round hole 34, and a small round hole 33, Figure l, in advance of the large hole in the sheet, a distance equal to that between the punches 23 and 24. If, however, the tone is sustained, by the performer holding the piano key down, then a record is produced as represented by trie perforations 35 and 36, Figure l. It is to be noted that at all times the small punch 24 makes but a single round hole irrespective of the duration of the tone.V As the tone'becomes louder, the small holes appreach the large holes in the sheet, as shown by the series of staccato tones represented by the holes 3st, 37, and 15S, Figure 4f, until ultimately the small perforations lose their identity in the large holes, as shown in perforation 115, Figure el, `at whichtime the loudest tone is indicated.

It is seen by this method that I get an infinite variety of indications of gradations of tone. In order to produce the elongated holes V36', representing sustained tones, the larger punch 23 is reciprocated continuously, so long as the key of the piano is held down by the performer. I accomplish this by providing the armature 29 with the elect-ric contact 1GO, insulated therefrom, which contacts with and contact 161, and the armature returns to its initial position through the action of the spring 25. It, therefore, vibrates as long as the performer holds the key 1 down, thereby makin an elongated hole in the sheet 22, such as hole rlhe speed of operation of' these punches, 23, is so great and their travel so small, that I am able to feed the paper 22 at a uniform continuous rate (without intermittent motion as is generally employed) thereby making exact records of the performance as to tempo. Y

The small holes are perforated in the sheet 22 by the punches 24, actuated by the armature 30 of the magnet 28, through the energizing of the winding 32.

The punchcs23 and 2l are arranged in pairs at a predetermined distance apart, as

stated, and there are 8S pairs of punches employed in my device. The usual spacing across the sheet is 9 per inch. I prefer to provide all of the punches with a single die 116, held by a bed plate 117. All of the punches 23 and 24 are provided with a punch guide 118, suitably held in a support 119.

The magnets 2T and 29 are provided with relays 125 and 126 respectively. The relay 125 controls the operations of punch 23 to make note perforations, while relay 126 controls punch 24 to make the small modifying perfor-ations. The perforating device may be operated electrically by a battery 103, shown in Figure 2, or by means of a generator or any other sourceV of electrical energy. I may also operate my recording device pneumatically as will be readily understood. The windings 31 and 32, of the magnets 27 and 28, respectively, have one of their terminals connected to lead 135, running to the battery '103. rlhe opposite'terminal of the winding 31 is connected to the contact making spring 160,

Y carried by the armature 29, while the opposite terminal of the magnetwinding 32 is connected tothe terminal 134 of the relay 126.

llO

The Contact making screw 161 is connected to terminal 132 oit the relay 125, while the contact 131 ot this relay is connected to the battery 103. The winding 122 ot the relay 125 is connected to the battery 103, through lead 135, and also to terminal 130. The opposite terminal 129 of the relay 125 is connected through leads 136 and 137 to the terminal 17, Figure 5. The terminal 18, Figure 5, is connected by lead 138 to the battery 103. The battery 103 is connected to a terminal 93, which is normally connected by a plate attached to the rear ot the key 1 to terminal 91 by means ot lead 111, when the key is in its normal upper position. The terminal 9/1 is connected to the relay terminal 130 by lead 111.

The relay 120, which controls the ope 'ation of the magnet 28, is provided with a winding 128, one end of which is connected by means ot lead 135 to the battery 103, while the opposite end ot' the winding is connected to lead 137.

The normal positions of the parts of the recording devices are shown in Figure 2, wherein the relay 125 bridges the upper contacts 129 and 130, and the relay 126 maintains the connection open between the contacts 133 and 131. These conditions cause the windin 31 and 32 to be normally cle-energized.

The operation o'tl my recording device will now be nndersstood. 1t will be noted there are two parallel circuits controlling the relay 125. One ol.' these circuits is held normally closed by the piano key 1, bridging the contacts 93 and 94.-, the other circuit is held normally closed by the spring` 120 holding the contacts 17 and 18 closed. The piano key circuit comprises the lead 110, connected with one side ot the battery 103, terminals 93 and 94 bridged by the key, lead 111 connected to one end of the relay windings 122, and lead connected to the opposite side ot the battery 103. The second circuit controlled by the action ot the hammer comprises lead 138, connected to one side ot the battery 103, terminals 17 and 18 bridged by the contact spring 19, the leads 137 and 13G, contacts 129 and 130. winding` 122. and the lead 135, connected to the opposite side of the battery. The purpose ot these two parallel connections is to prevent the recording device from being thrown into operation, by the performer earelcssly pressing` the keys down when not playing. It will be readily seen that in order to throw the punch into operation it is necessary that both ot` these parallel circuits are open simultaneously. This occurs when the key 1 opens the contacts 93 and 94, while the movement of the hammer actuates the arm 10, thereby opening the circuit between the spring 19 and the plate 20. As soon as this takes place the winding 122 is cle-energized, and the moving parts remain in their lower position, so long as the key 1 is depressed, ir-

respective of the fact that in the meantime the arm 10 may return to its initial position, closing the contacts 19 and 20. This occurs for the reason that when the winding 122 be` comes tlc-energized, the bridging member between contacts 129 and 130 opens the circuit, and it is impossible for the relay to move upward again to close the contacts 129 and 130, until the l-:ey ot' 'die piano raises and thereby bridges across the terminals 93 and 94. Upon the relay 125 moving to its lower position, upon the cessation ot currentthrough the winding 122, the contacts 131 and 132 are bridged, thereby throwing the winding 31 of the magnet 27 into circuit with the battery 103, through the interruptor 1.60. This causes the armature 29, carrying with it the punch to oscillate rapidly, and to punch holes in the traveling sheet of paper 22, so long as the key 1 of the piano is depressed. The duration ot this punching operation is trom the time when the hammer strikes the string, to the time when the key is raised. It the key is depressed but 'for an instant, as when a staccato note is played, then the armature 29 may reciprocate but once, causing a single round perforation to be made in the sheet 22; whereas, it the key is depressed for a longer period ot' time, a slot will be perforated in the sheet representing a sustained tone.

The relay 120. normally maintains an open circuit relation between the contacts 133 and 1341-, thereby 'preventing the winding "2 trom becoming energized, until the winding ot the relay is discoiinected trom the battery circuit. The winding 128 becomes (le-enel ed immediately as the arm 10 starts in its t vel, through the operation ot the hammer action. This causes the contacts 133 and 131 to be bridged. but no current fioi at this time, owin to the circuit having been opened at the contacts 19 and 20. Upon the return. however. ot the arm 10 to its initial position, these contacts 19 and .20 are closed, thereby permitting current to flow trom the battery 103. through lead 138. across the contacta 19 and. 20. through the lead 137, across contacts 133 and 134e. through the winding` 32. bark through lead to the on site side ot the battery 103. This cai he armature 30 to be attracted by the magnet 28 and the punch 24 punches a small round hole in the paper Immediately. however. upon the actuation o1 this punch, the relay 120 mores into its upper position, by the energizing ot the winding 123. ln order to prevent the possible .failure ot the winding 32, operating before the winding 128 otl the relay 126, I may cause a lag in the response ot the relay 126. to the energizing ot its winding` 128, by increasing the relative self-induction of the winding 128 to a necessary degree, or by introducing a copper tube between the windings and the movable core ot the relay 126, or by any other well known time lagging means. It is understood that I prefer but a single round perioration to be made by the punch 24 at each of its operations. It would not, however, interfere with the operation of my recording device, it the .small punch 2st would produce a short slotinstead of a round hole.

It will now be understood how the spacing between a pair of perforations such as 33 and 34 is obtained. As the note perfor-ations 3l, 3T, etc., are made in the sheet 22, while it is continually traveling away Yfrom the laro'e punch 23, to the small punch 24, the small perforations will be made in the sheet. in advance oiI the large perfor-ations, and the distance between the small pertorations and the large perfor-ations will depend upon the interval of time between the operation ot the large and the small punch. It the operation of a large and a small punch (constituting a pair) is simultaneous, then the pertorations produced thereby will be spaced in the sheet 22, a distance apart, equal to the distance between the large punch Q3 and the small punch 24', in the recording device. It, however, there is a lag in the time of the operation ci the small punch 24', after the large punch Q3 has operated, then the small perforation produced thereby will be closer to the large perforation, and it this time lag equal to the time it takes the paper to travel the distance between the large punch 23 and the small punch 24', then there will be no small perforation produced, as the small punch 24 passes through the large perforation previously made by the large punch 23. The operation of the small punch 24', in its relation to the operation of the large punch 28, is controlled by the time taken by the swing of the arm l0. This swing can be adjusted so that the time of its maximum swing (caused by the loudest note played upon the piano) is equal to the time taken by the paper to travel the distan'ie between the large punch 23 and the small punch 24. i

It is apparent from the above that all possible changes in the intensities of tones can be accurately recorded. lt is also apparent that each note is recorded as to its exact time of attack and duration. Y

There are many modiiications of the above disclosures that can be made by one skilled in the art to which this invention pertains, all of which modifications would, however, come within the scope of this invention.

VlNhat I claim as my invention and wish to cover by Letters Patent is:

l. A tone producing mechanism and a recording mechanism comprising two series of punches, one series of large punches adapted to record the note played, the other series composed of punches ot' smaller size adapted to record the intensity of the note played, the large and small punches being arranged in pairs, one large and one small punch in each pair and one pair for each note to be played.

2. A tone producing device, a recording device and a timing device adapted to control the recording device, comprising a series of oscillating arms, normally stationary but adapted to start to move upon the starting of their respective tones.

3. In a recording piano, a string, a recording device and a hammer having a pivoted joint, the hammer extending on both sides of the joint, one end of the hammer adapted to strike the string, and the other end oi the hammer adapted to stri te the recording device,

e. rEhe herein described method of recording the individual tones of a composition, and their intensities as executed upon a musical instrument, which consists in automatically making upon a suitable medium a record of Veach tone and subsequently making upon the medium a second record in advance of 'the first record a distance indicative of the intensity of the tone.

5. The herein described method of recording the individual tones of a composition, and their intensities as executed upon a musical instrument, which consists in automatically making upon a suitable medium records ot variable lengths 03": all of the tones,

indicating by their lengths the lengths of the Y tones, and also making upon the medium a second group of records of iixed lengths located individually in advance oft the iirst records a distance proportional to the intensity of the tone.

6. A music recording machine comprising a series of punches adapted to record notes upon a. strip orp paper, a second series of punches adapted to record the intensities of the respective notes played, the punches ot the two series being arranged in pairs, one pair for cach note, and being located in longitudinal relation to each other with reference tothe paper.

7. A music recording machine 'comprising a driving mechanism ior a movable strip of paper, a punch adapted to peritorate the paper to record a note, and a. second punch located in longitudinal alinement with the iii-st named punch and adapted to record the expression of the note played.

8. A music recording machine comprising a device adapted to move a strip 'of paper, a punch adapted to record a note by a perforation in the paper, and a second punch located in longitudinal relation to the iirst named punch adapted to record the expression of the note played.

9. A machine to record musical notes upon a strip of paper comprising a pair ot punches in longitudinal relation to each other with reference to the paper, adapted to record in the paper different characteristics oi the same note.

l0. A machine for recording music comprising a paper advancing device, a pair of lll) recorders for recording the characteristics ot each note played, and means for advancing the record made by one recorder toward the location ot' the second recorder a. distance dctermined by the intensity et tl e tone.

11 A machine for recording music comprising a paper advancing dev'ce, a pair ot recorders for recording the characteristics o'tl each note played, and means for advancing the record made by one recorder toward the location of the second recorder until the record reaches the location of the second recorder upon recording a note of extreme characteristic.

1Q. A machine tor recording a performance upon a piano comprising a paper feeding device, a pair ot recording devices in longitudinal relation to each other with reference to the paper, one recording device adapted to make its record immediately upon the hammer striking the strings of the piano, the second recording device adapted to delay making' its record until a time has elapsed proportional to the intensityof the tone, one record being located in advance of the other on the paper.

13. In a music recording machine, a tone producing mechanism, a recording device and a timing device for the recording device adapted to be actuated by impact from the tone producing mechanism.

14. In a music recording mechanism, a series of tone producing devices, a series of recording devices, and a series of timing devices adapted to be actuated by the tone producing devices by impact therewith, comprising a series of arms adapted to swing through amplitudes proportional to the intensities of the tones produced.

15. An instrument for recording the dynamic value of a musical tone of a piano comprising a recording device, a series of pivoted arms controlling the recording device, one arm lor each tone, and means adapted lto swing the arms distances proportional to the intensities of their respective tones, each arm'starting to `swing at the time its tone is sounded.

16. A music recording instrument comprisinga series of movable members, one for each tone, normally at rest until a tone is sounded and adapted to move distances proportional to the intensity of their respective tones.

17. The method of recording characteristics of a musical tone which consists in automatically making a record of the duration of the tone and also a separate record indicating by its distance from the tirst named record the intensity of the tone.

18. The method of recording characteristics of a music tone which consists in making a pair of records upon any suitable medium, the distance of separation between the records indicatingthe intensity of the tone.

19. The method of recording musical tones which consists in making a perforation indicating by its length the duration of the tone and also making a perforated extension to the front end of the perforation of less width than the perforation indicating by the length oi1 the extension the intensity of the tone.

20. An instrument for producing and recording musical tones comprising a series of tone producing elements of graduated weights and a series of recording devices responsive to the tone producing elements, having weights graduated substantially in inverse proportion to the weights of the tone producing elements.

21. An instrument for producing and recording musical tones comprising a series of hammers of graduated weights, and a series of movable elements responsive to the movements of the hammers having weights graduated substantially in inverse proportion to the weights of the hammers.

22. The method of producing and recording musical tones which consists in producing a series of tones requiring different amounts of energy to produce equal intensities of the same and then recording the tones so produced by a series of means having amounts of inertia substantially in inverse proportion to the amounts of energy taken to produce the tones.

23. A music producing and recording instrunient comprising a series of tone producing devices requiring different amounts of energy to produce the same intensity of tones by the different devices, and a series of movable elements responsive in their movements to the tone producing devices comprising means adapted to produce substantially the same distance of movement in all elements recording the same tone intensity.

In testimony whereof, I aix my signature.

HENRY PRICE BALL. 

